Tuesday, 16 April 2013
Duality Final
I have now finished the colour enhancements and the final pieces of editing for my thriller opening. Here is the completed version of my thriller opening Duality.
Colour Enhancements and Superimposition
Today I entered the final stage of editing with colour enhancements and adding the credits.
Colour Enhancements
Now that the sound has been laid onto the opening and is in time, it was time to start altering the colour on the opening for each different scene. In order to do this, I have used Final Cut Pro X, altering the colour levels, saturation and exposure on each individual scene. I feel that the colour tones support the mood of the scene and give the audience an indication of what may follow. For the opening scene, I have crushed the blacks on the exposure levels of the scene in order to make the rooms and the characters appear darker as well adding a slightly blue tone to the scene. I have done this to emphasise the cold, bitterness of the scene and give the audience an insight into the killer's personality. This is similar to Black Swan, which I analysed for my research and found that using low levels of light can give the audience an idea of a certain character's personality therefore I have decided to use a slight blue tone to make not only the scene look cold and dark, but the killer too. For the second scene however, I wanted the crime scene to appear warmer than the previous scene to let the audience know that the danger from the previous scene has passed even though it begins with a close up on the dead body. I have done this by not crushing the exposure of the scene too much and giving the scene a touch of red which carries connotations of heat and is therefore a sign of safety to the audience. However I have not just put a red tone above the scene as all the colours within the scene would have been too bright therefore I lowered the saturation levels on the scene to ensure that the audience understand that, even though this scene is safer, they are still based in a very dangerous location where this could change at any second. This is supported by my colour alterations the alleyway scene which are very similar to those in the opening scene. This has been used to suggest to the audience that the killer is going to strike again as soon as the parallel editing begins. The audience see a clear contrast between the safe and dangerous scenes in a movie, possibly into the minds of the killer and Hudson and how they see the world. This is an idea that could be used throughout the film to show a clear divide in the two characters.
Superimposition
For the opening credits of the thriller, I plan to use a similar to technique to Quentin Tarantino. I have noticed through watching a number of Tarantino's movies that he often includes many of the people who worked on the film at the very beginning, this may be due to ensuring that those who played a big role in creating the film get the recognition they deserve from those who enjoy the film. I plan to emulate his technique by having my opening credits after the title DUALITY is shown at the end through having a list of names of those who featured and worked on the opening scrolling up at they very end. The thriller will of course start with the name of my production company, Evil Twin Productions, and be followed by the names of those who wrote and directed the thriller opening including myself. The rest of the credits will feature after the end of the second with Tame being reintroduced for the title of the film, this then runs for around twenty seconds with the names of others featured in the production of the film as the song draws to a close. I have also arranged the superimpositions to fade out, similar to the killer's actions in both his scenes as he seems to just appear and slip away again without anyone else noticing that he was ever there. I have also used the Oh No font that I mentioned in a previous post.
Colour Enhancements
Now that the sound has been laid onto the opening and is in time, it was time to start altering the colour on the opening for each different scene. In order to do this, I have used Final Cut Pro X, altering the colour levels, saturation and exposure on each individual scene. I feel that the colour tones support the mood of the scene and give the audience an indication of what may follow. For the opening scene, I have crushed the blacks on the exposure levels of the scene in order to make the rooms and the characters appear darker as well adding a slightly blue tone to the scene. I have done this to emphasise the cold, bitterness of the scene and give the audience an insight into the killer's personality. This is similar to Black Swan, which I analysed for my research and found that using low levels of light can give the audience an idea of a certain character's personality therefore I have decided to use a slight blue tone to make not only the scene look cold and dark, but the killer too. For the second scene however, I wanted the crime scene to appear warmer than the previous scene to let the audience know that the danger from the previous scene has passed even though it begins with a close up on the dead body. I have done this by not crushing the exposure of the scene too much and giving the scene a touch of red which carries connotations of heat and is therefore a sign of safety to the audience. However I have not just put a red tone above the scene as all the colours within the scene would have been too bright therefore I lowered the saturation levels on the scene to ensure that the audience understand that, even though this scene is safer, they are still based in a very dangerous location where this could change at any second. This is supported by my colour alterations the alleyway scene which are very similar to those in the opening scene. This has been used to suggest to the audience that the killer is going to strike again as soon as the parallel editing begins. The audience see a clear contrast between the safe and dangerous scenes in a movie, possibly into the minds of the killer and Hudson and how they see the world. This is an idea that could be used throughout the film to show a clear divide in the two characters.
Superimposition
For the opening credits of the thriller, I plan to use a similar to technique to Quentin Tarantino. I have noticed through watching a number of Tarantino's movies that he often includes many of the people who worked on the film at the very beginning, this may be due to ensuring that those who played a big role in creating the film get the recognition they deserve from those who enjoy the film. I plan to emulate his technique by having my opening credits after the title DUALITY is shown at the end through having a list of names of those who featured and worked on the opening scrolling up at they very end. The thriller will of course start with the name of my production company, Evil Twin Productions, and be followed by the names of those who wrote and directed the thriller opening including myself. The rest of the credits will feature after the end of the second with Tame being reintroduced for the title of the film, this then runs for around twenty seconds with the names of others featured in the production of the film as the song draws to a close. I have also arranged the superimpositions to fade out, similar to the killer's actions in both his scenes as he seems to just appear and slip away again without anyone else noticing that he was ever there. I have also used the Oh No font that I mentioned in a previous post.
Sunday, 14 April 2013
Dubbing Sound
Seeing as the overall sound quality of the footage I have is poor, I have decided to overdub all the sound including sounds such as footsteps meaning I will have to create my own Foleys. I decided that it would be best to not record all of the Foleys first and then the dialogue, I felt it would be more effective to record in the order of the length each sound would last in the opening.
Location: Recording room in the music block.
Here is the order in which I recorded the sounds for the entire thriller opening:
Location: Recording room in the music block.
Here is the order in which I recorded the sounds for the entire thriller opening:
- Foley - Footsteps
- Dialogue
- Foley - Stabbing
- Ambiance
- Pixies - Tame
- Foleys - Wallet drop, clothes rustling and stroking the knife
Equipment Used
- Behringer B1
- Shure SM57
- Firefly 808
- Logic software
- Wooden board
- Wallet
- Watermelons
- Cabbage
- Knives
- Chairs
- Coats
- Chopping board
- Wet cloth
- Soundproofing boards
Foleys
The job of a Foley artist is to enhance the sound of a scene and make the audience believe that everything in a scene, such as a floor made of plywood painted to resemble marble, is real. Foleys are very important to my thriller opening and I will be required to create Foley effects for all the footsteps of the scene, stabbing sounds, the wallet falling, stroking the knife and the sound of clothes rustling. The day started with my group and I experimenting between three different sounds for the footsteps, the options included just the floor in the recording room, a thin wooden board and a much thicker wooden board that I fortunately found on the way to school that very morning.
For the footsteps for the shots inside the hotel, I decided to use the thick wooden board which made the sound most similar to that of the real footsteps in the rough edit. This proved to be a very long task as it required perfect timing between the sound and the feet on screen hitting the floor. However when it came to the alleyway footsteps, I decided to use a chair to for the walk as it resembled the sound of walking on concrete and by this time, recording Foleys was becoming increasingly straightforward. Other Foley sound effects such as the stabbing sound required the stabbing of both watermelons and cabbages, these fruits and vegetables resembled the sounds of a knife entering a body as well as the knife being pulled back out of the victim. Acquiring the right sound for this was crucial as in the extreme close up of the blonde woman on the floor, she is stabbed again however I plan to only show this through her facial expressions and the sound of a knife stabbing a watermelon, a technique famously used by Alfred Hitchcock. Other techniques I used included wiping a knife in a wet cloth to get the sound of the killer wiping the knife clean, as well as rustling a coat for the the sound of the tramp getting to his feet in the second scene right before he is stabbed.
Dialogue
At an early stage, dialogue posed a problem as Adam Canning was not available to join us for his lines therefore I took over and portrayed his character's voice. Because of the recent changes to scene two, the scene now only shows Hudson saying the end of his final line 'it's my goddamn job to know' meaning that only that line had to be in time with what is being said by Hudson on screen. However, because the parallel editing now makes scene two longer, Jake and I had to try and draw out our lines for as long as possible to ensure that there is not a huge pause in the middle of Hudson's final lines of the scene.
Pixies - Tame
Although I am somewhat unfamiliar with Logic and the majority of the editing of Tame was completed by Dan, seeing as I overdubbed Hudson's voice, it would only seem suitable for me to add my voice at the end of my group's edit of Tame. The edited edition of the song to last the length of scene one is perfectly timed to the follow the scene with the music intensifying as the door is kicked down after a quiet start. After the first stab, the panting of both of the singers in the band begin and are supported by the sound of me heavily breathing over the top, to resemble the killer, this will continue as the music fades out and into the fade to black at the end of the scene to ensure that the audience are not let off the hook as soon as the scene ends.
The job of a Foley artist is to enhance the sound of a scene and make the audience believe that everything in a scene, such as a floor made of plywood painted to resemble marble, is real. Foleys are very important to my thriller opening and I will be required to create Foley effects for all the footsteps of the scene, stabbing sounds, the wallet falling, stroking the knife and the sound of clothes rustling. The day started with my group and I experimenting between three different sounds for the footsteps, the options included just the floor in the recording room, a thin wooden board and a much thicker wooden board that I fortunately found on the way to school that very morning.
For the footsteps for the shots inside the hotel, I decided to use the thick wooden board which made the sound most similar to that of the real footsteps in the rough edit. This proved to be a very long task as it required perfect timing between the sound and the feet on screen hitting the floor. However when it came to the alleyway footsteps, I decided to use a chair to for the walk as it resembled the sound of walking on concrete and by this time, recording Foleys was becoming increasingly straightforward. Other Foley sound effects such as the stabbing sound required the stabbing of both watermelons and cabbages, these fruits and vegetables resembled the sounds of a knife entering a body as well as the knife being pulled back out of the victim. Acquiring the right sound for this was crucial as in the extreme close up of the blonde woman on the floor, she is stabbed again however I plan to only show this through her facial expressions and the sound of a knife stabbing a watermelon, a technique famously used by Alfred Hitchcock. Other techniques I used included wiping a knife in a wet cloth to get the sound of the killer wiping the knife clean, as well as rustling a coat for the the sound of the tramp getting to his feet in the second scene right before he is stabbed.
At an early stage, dialogue posed a problem as Adam Canning was not available to join us for his lines therefore I took over and portrayed his character's voice. Because of the recent changes to scene two, the scene now only shows Hudson saying the end of his final line 'it's my goddamn job to know' meaning that only that line had to be in time with what is being said by Hudson on screen. However, because the parallel editing now makes scene two longer, Jake and I had to try and draw out our lines for as long as possible to ensure that there is not a huge pause in the middle of Hudson's final lines of the scene.
Pixies - Tame
Although I am somewhat unfamiliar with Logic and the majority of the editing of Tame was completed by Dan, seeing as I overdubbed Hudson's voice, it would only seem suitable for me to add my voice at the end of my group's edit of Tame. The edited edition of the song to last the length of scene one is perfectly timed to the follow the scene with the music intensifying as the door is kicked down after a quiet start. After the first stab, the panting of both of the singers in the band begin and are supported by the sound of me heavily breathing over the top, to resemble the killer, this will continue as the music fades out and into the fade to black at the end of the scene to ensure that the audience are not let off the hook as soon as the scene ends.
Editing Continued & Combining Scene's Two and Three
After discussing with some of the media experts within the media and music department at my school. I have decided to make some changes to improve my thriller opening. After watching my rough draft a number of times, I feel there is too much in the way of dialogue in the second scene which considerably slows down the pace. Now I understand that thrillers need to have calmer moments to emphasise the thrilling parts of the film to make the audience feel even more anxious as they anticipate the end of a calmer segment of a film, and know that something big is imminent. However I feel that the second scene slows down the pace too much as it is only two minutes long, I am safer condensing as many of the codes and conventions of the thriller genre into that time allowed such as quick cuts and extreme close ups. I have decided that an effective way to tackle this problem is to combine both scene's two and three. Before I had access to Final Cut Pro X to make these alterations to the opening, I drafted some storyboards of what I expect the combined scene to look like with my group. This made the editing process faster when combining the scenes as I already had a brief idea of what the scene will look like after the changes.
I have edited my opening so scene two still starts with close up tracking shot of the corpse, however I have used parallel editing by cutting in the killer's walk in scene three after this shot which will give the audience a hint that the detective is also the killer but may also make them feel uneasy and unsure on what is about to happen. This shot is now followed by the over shoulder from scene 2 rough edit in my previous two posts, leading into the dialogue two shot which cuts to the rest of scene three whilst the two detectives are talking about the murder from scene one. Luckily, the dialogue from scene two also applies to scene three as the killer stabs the tramp twice and steals nothing from him. This will make the audience feel increasingly uncomfortable and highlight how far behind the killer they are, setting up for the rest of the film which would revolve around Hudson trying to find this man.
There is also the small matter of superimpositions to consider. When using Final Cut Pro X, superimpositions are the last feature which can be added to a piece of film therefore this will be completed after sound and colour enhancements; however I feel that I have already found the perfect font for all of the credits. The font I have chosen is called 'Oh No' and strongly resembles the typographical choices made for the opening credits of Se7en as it mimics shaky handwriting, possibly that of the serial killer presented in both scene's one and two. The letters are also surrounded by drips, which could be seen as blood splattering around the opening credits, making the audience feel anxious before the opening has even started. I plan to have these fonts fading in and out of the screen, as if they are creeping up on the audience one by and one then disappearing again making the audience question what is around them.
I have edited my opening so scene two still starts with close up tracking shot of the corpse, however I have used parallel editing by cutting in the killer's walk in scene three after this shot which will give the audience a hint that the detective is also the killer but may also make them feel uneasy and unsure on what is about to happen. This shot is now followed by the over shoulder from scene 2 rough edit in my previous two posts, leading into the dialogue two shot which cuts to the rest of scene three whilst the two detectives are talking about the murder from scene one. Luckily, the dialogue from scene two also applies to scene three as the killer stabs the tramp twice and steals nothing from him. This will make the audience feel increasingly uncomfortable and highlight how far behind the killer they are, setting up for the rest of the film which would revolve around Hudson trying to find this man.
There is also the small matter of superimpositions to consider. When using Final Cut Pro X, superimpositions are the last feature which can be added to a piece of film therefore this will be completed after sound and colour enhancements; however I feel that I have already found the perfect font for all of the credits. The font I have chosen is called 'Oh No' and strongly resembles the typographical choices made for the opening credits of Se7en as it mimics shaky handwriting, possibly that of the serial killer presented in both scene's one and two. The letters are also surrounded by drips, which could be seen as blood splattering around the opening credits, making the audience feel anxious before the opening has even started. I plan to have these fonts fading in and out of the screen, as if they are creeping up on the audience one by and one then disappearing again making the audience question what is around them.
Audience Response to Initial Editing
After I completed the initial editing for my thriller opening, I presented the opening to one of the media department teachers, who also comes under my target audience age range. This teacher has not previously helped me with my opening as he does not work with my class therefore this is his first response to the opening.
Entering the Editing Stage
Final Cut Pro X
Although I have started the editing of scene three as I have posted it before, I have today started work on scene's one and two which I have recently finished filming. As I have done with scene three, I have decided to use Final Cut Pro X as the editing software I am going to use. This was an easy decision after working with iMovie on both the enigma and 180 degree rule videos during the planning stage of creating my thriller opening. I feel that Final Cut Pro X gives me more of an opportunity to explore various things I can do with my footage whereas through working with iMovie I have found that the software has many limitations and the end product from this software often looks unprofessional and somewhat lazy. Final Cut Pro X also allows me to explore different transitions between the scenes and will offer various ways to include superimpositions compared to the very limited number of options provided on iMovie. Seeing as I have to overdub all the sound myself, Final Cut Pro X is the desired software out of the two as it allows me to go beyond basically laying on all the sound and opens up a new world of ways to mix the audio as well as improving the colour of my opening to make it resemble an actually thriller opening.
Starting to Edit
As I entered the editing stage, I decided to keep to the format of my final shot list and compile the best shots I have and start to work from there. I found that I had two or three good takes for each shot which was a huge benefit to me just in case anything was at fault with one of the shots, I had at least one back up take I could use. Unfortunately at the moment I am not aware of how to compile a split screen shot, which I desire to use when the killer is first introduced with one shot of his shoulders and one of his feet, however I plan to find out on the first week back when I show three media experts what I have so far to see where I can make some improvements. There are a number of shots I had to trim such as the door kick in scene one which now does not show the door swing open, the shot shows the kick and quickly cuts to the blonde woman's shocked face to ensure that none of the other side of the room was included in the shot as that is where I stored the classroom's furniture during filming. There are a number of shots I plan to trim even further such as the extreme close up of the woman screaming which at the moment I feel maybe a fraction too long if I plan to maintain a fast pace to the opening scene and keep the audience feel a level of discomfort with how fast all these events are transpiring.
Even though I have been told that the shot of the final stab in the opening scene is too shaky, I feel that this represents how unstable the killer is as the shot appears to be from his eyes as he stabs her one final time. Even though the opening so far is very different to what I had initially planned, I feel that through quicker and fewer cuts, I am able to present the same murder with a higher level of tension as the audience will constantly feel uneasy and as if they have been forced onto this fast roller coaster which ends in the deal of a supposedly innocent young woman. I have also included fade outs on the end of both scene one and scene two as well as maintaining the flash at the very beginning of scene two. The opening shot for the second scene follows closely up the corpse's body whereas before merely presented the body in a wide shot, the audience will now feel uneasy with how close they are to the corpse and how they are being forced to follow the camera up her body. I am also pleased with the low angle two shot I have of Hudson and Detective 1, this shot will make the audience feel they are witnessing the conversation from the perspective of the corpse and will indicate that both detectives have a high status before they even start talking. I feel that I may need to cut the tracking shot of the body across the coffee table slightly as it lasts a very long time however the shot will give the audience obscure vision of what is going on therefore making them feel anxious. Scene three has had very few alterations from when you last saw the scene, only minor changes with the size of some cuts and is near enough ready to be overdubbed with sound and have colour enhancements added to it.
Here is a very rough version of the thriller opening so far, I recognise that it still contains all the original sound which will be overdubbed towards the end of the editing process, around the same time the opening will also have colouring enhancements.
Although I have started the editing of scene three as I have posted it before, I have today started work on scene's one and two which I have recently finished filming. As I have done with scene three, I have decided to use Final Cut Pro X as the editing software I am going to use. This was an easy decision after working with iMovie on both the enigma and 180 degree rule videos during the planning stage of creating my thriller opening. I feel that Final Cut Pro X gives me more of an opportunity to explore various things I can do with my footage whereas through working with iMovie I have found that the software has many limitations and the end product from this software often looks unprofessional and somewhat lazy. Final Cut Pro X also allows me to explore different transitions between the scenes and will offer various ways to include superimpositions compared to the very limited number of options provided on iMovie. Seeing as I have to overdub all the sound myself, Final Cut Pro X is the desired software out of the two as it allows me to go beyond basically laying on all the sound and opens up a new world of ways to mix the audio as well as improving the colour of my opening to make it resemble an actually thriller opening.
Starting to Edit
As I entered the editing stage, I decided to keep to the format of my final shot list and compile the best shots I have and start to work from there. I found that I had two or three good takes for each shot which was a huge benefit to me just in case anything was at fault with one of the shots, I had at least one back up take I could use. Unfortunately at the moment I am not aware of how to compile a split screen shot, which I desire to use when the killer is first introduced with one shot of his shoulders and one of his feet, however I plan to find out on the first week back when I show three media experts what I have so far to see where I can make some improvements. There are a number of shots I had to trim such as the door kick in scene one which now does not show the door swing open, the shot shows the kick and quickly cuts to the blonde woman's shocked face to ensure that none of the other side of the room was included in the shot as that is where I stored the classroom's furniture during filming. There are a number of shots I plan to trim even further such as the extreme close up of the woman screaming which at the moment I feel maybe a fraction too long if I plan to maintain a fast pace to the opening scene and keep the audience feel a level of discomfort with how fast all these events are transpiring.
Even though I have been told that the shot of the final stab in the opening scene is too shaky, I feel that this represents how unstable the killer is as the shot appears to be from his eyes as he stabs her one final time. Even though the opening so far is very different to what I had initially planned, I feel that through quicker and fewer cuts, I am able to present the same murder with a higher level of tension as the audience will constantly feel uneasy and as if they have been forced onto this fast roller coaster which ends in the deal of a supposedly innocent young woman. I have also included fade outs on the end of both scene one and scene two as well as maintaining the flash at the very beginning of scene two. The opening shot for the second scene follows closely up the corpse's body whereas before merely presented the body in a wide shot, the audience will now feel uneasy with how close they are to the corpse and how they are being forced to follow the camera up her body. I am also pleased with the low angle two shot I have of Hudson and Detective 1, this shot will make the audience feel they are witnessing the conversation from the perspective of the corpse and will indicate that both detectives have a high status before they even start talking. I feel that I may need to cut the tracking shot of the body across the coffee table slightly as it lasts a very long time however the shot will give the audience obscure vision of what is going on therefore making them feel anxious. Scene three has had very few alterations from when you last saw the scene, only minor changes with the size of some cuts and is near enough ready to be overdubbed with sound and have colour enhancements added to it.
Here is a very rough version of the thriller opening so far, I recognise that it still contains all the original sound which will be overdubbed towards the end of the editing process, around the same time the opening will also have colouring enhancements.
Shooting Scene One and Two
Instead of re-scripting for the new shot list I have compiled I thought it would be more effective to create a storyboard for the opening scene to ensure that I have all the correct the shots required so I can quickly enter the editing stage of the project. However, because everyone now involved with scene two is familiar with the plot and there is no alterations in the dialogue, I saw no need to create a storyboard for this as I strongly believe the script will be enough to ensure I get the shots I desire.
Today I came returned to school with the intentions of filming the whole of scene one and re-shooting parts of scene two like I did last week. Unfortunately, they were still doing work to the area where my set was based therefore I decided to shoot scene and the whole of scene two again in the learning support area. This change in location requires shooting the whole of scene two again as simply trying to make the room look exactly the same as the previous room I used would raise a number of continuity errors which would make the opening appear unprofessional and would suggest that I have not taken any care in the production of this thriller opening. As this is not the case, I would rather film the whole of scene two again as today both Adam Canning and Shornie Britton were on set anyway therefore I only had to make a few minor casting changes. The new location features two corridors which the killer will walk through, I predict that the split shot that I plan to use between the killer's feet and shoulders will only last until the first door, with the mid shot of the killer's shoulders being used up until the second door. To ensure that I do not encounter the same lighting problems on Hudson's face as I did before, today I used two lights on the two shot between Hudson and Detective 1 which I feel has made the important shot between the pair sufficiently light in an environment which is supposed to appear as dark and dangerous to the audience.
Casting Changes:
Detective 1 - Jake Kardasz
Detective 1 is now portrayed by Jake Kardasz. As Jake is a member of my group, I strongly believe he successfully represented the frustration of the police around Hudson through Detective 1 and even improvised on the script, allowing Hudson to push past him on his way out to show the aggressive side of the protagonist. The only difference in costume is Detective 1 will now be wearing a white shirt featuring blue stripes whereas before he was portrayed by Jack Stiff in a white shirt. Jake also already knew all of Detective 1's lines therefore I did not have to waste time allowing next actors to learn their lines and get into character.
Press - Daniel Comley and I
The press are now portrayed by Daniel Comley and I. Daniel has experience in acting and has performed in many plays such as Cats and Oliver Twist throughout his life. I feel this was a strong reason to promote Daniel from a role as an extra to a member of the press as he will have to use facial expressions in close up shots to show both his frustration and fear with Hudson as scene two draws to a close. I have also decided to myself as the other member of the press who asks the first question. I have done this because I wrote the script and feel that I could successfully deliver the press member's one line to Hudson to intensify his already hostile mood. After watching Joe Donadel and Ellen Titchmarsh's performances as the press members in scene two, I feel that they did not express their frustration with the detective, not to mention in the over shoulder shot from Ellen she kept moving back and forward making the shot uncomfortable and look somewhat unprofessional.
Seeing as the learning support room was much smaller than my previous PE room, I have decided to cut the two detective extras sitting at the back of the scene as I am only going to be using half of the small room to make the audience feel like they cannot escape the crime scene and a sense of claustrophobia. However I plan to keep the flash from the start of the original scene two which may suggest to the audience that there is another detective in the room as it will be used to mimic a camera flash.
Mise en Scene and Propositions
The mise en scene and propositions that I have used in the re-shoot of scene two and the shooting of scene one are mostly the same as they were in the original scene two. However there are a few minor changes. One change that I have been forced to make was the fact that there is no longer a television in the room as I was unable to retrieve the one I had used from the science block of the school I had used previously. The television has been replaced with a radio which now sits upon the table where the television sat in the original scene two. This is not a huge change as it is only a small part of the room and will make the hotel seem even grottier and cheap as it cannot even afford to place televisions in their rooms. I have also included a red rug on the floor of the room which will carry connotations of danger as well as sexuality, due to the colour red. This rug will also mask the fact that no theatrical blood was used today as even if I did use some, it would match the colour of the rugs.
A number of items from the original scene two are still being used such as the sofa, table, kettle and the clock. Unfortunately, I was unable to use both the typewriter and lava lamp which is disappointing because I can no longer use the typewriter as a postmodernist reference to thriller classics such as The Shining as I stated in my postmodernism post, however because I am no longer using any police extras there seemed no need for it anymore even if there was somewhere to place the proposition. I also had to find a way of masking the room's posters to make the room strike one as a hotel room, luckily the majority of this room's posters were not stapled on therefore they were simply taken down and those which did require disguising, I covered with a black cloth to resemble a dark wall. The room also featured two extra chairs, one of which held a red jacket which closely resembles Michael Jackson's jacket in the Thriller video, referencing more iconic 1980's popular culture, as well as the other chair using leopard print cloth resembling 1980's fashion.
The Days Shot List
Shot List for Scene One
Shot List for Scene Two
Today I came returned to school with the intentions of filming the whole of scene one and re-shooting parts of scene two like I did last week. Unfortunately, they were still doing work to the area where my set was based therefore I decided to shoot scene and the whole of scene two again in the learning support area. This change in location requires shooting the whole of scene two again as simply trying to make the room look exactly the same as the previous room I used would raise a number of continuity errors which would make the opening appear unprofessional and would suggest that I have not taken any care in the production of this thriller opening. As this is not the case, I would rather film the whole of scene two again as today both Adam Canning and Shornie Britton were on set anyway therefore I only had to make a few minor casting changes. The new location features two corridors which the killer will walk through, I predict that the split shot that I plan to use between the killer's feet and shoulders will only last until the first door, with the mid shot of the killer's shoulders being used up until the second door. To ensure that I do not encounter the same lighting problems on Hudson's face as I did before, today I used two lights on the two shot between Hudson and Detective 1 which I feel has made the important shot between the pair sufficiently light in an environment which is supposed to appear as dark and dangerous to the audience.Casting Changes:
Detective 1 - Jake Kardasz
Detective 1 is now portrayed by Jake Kardasz. As Jake is a member of my group, I strongly believe he successfully represented the frustration of the police around Hudson through Detective 1 and even improvised on the script, allowing Hudson to push past him on his way out to show the aggressive side of the protagonist. The only difference in costume is Detective 1 will now be wearing a white shirt featuring blue stripes whereas before he was portrayed by Jack Stiff in a white shirt. Jake also already knew all of Detective 1's lines therefore I did not have to waste time allowing next actors to learn their lines and get into character.Press - Daniel Comley and I
The press are now portrayed by Daniel Comley and I. Daniel has experience in acting and has performed in many plays such as Cats and Oliver Twist throughout his life. I feel this was a strong reason to promote Daniel from a role as an extra to a member of the press as he will have to use facial expressions in close up shots to show both his frustration and fear with Hudson as scene two draws to a close. I have also decided to myself as the other member of the press who asks the first question. I have done this because I wrote the script and feel that I could successfully deliver the press member's one line to Hudson to intensify his already hostile mood. After watching Joe Donadel and Ellen Titchmarsh's performances as the press members in scene two, I feel that they did not express their frustration with the detective, not to mention in the over shoulder shot from Ellen she kept moving back and forward making the shot uncomfortable and look somewhat unprofessional.
Seeing as the learning support room was much smaller than my previous PE room, I have decided to cut the two detective extras sitting at the back of the scene as I am only going to be using half of the small room to make the audience feel like they cannot escape the crime scene and a sense of claustrophobia. However I plan to keep the flash from the start of the original scene two which may suggest to the audience that there is another detective in the room as it will be used to mimic a camera flash.
Mise en Scene and Propositions
A number of items from the original scene two are still being used such as the sofa, table, kettle and the clock. Unfortunately, I was unable to use both the typewriter and lava lamp which is disappointing because I can no longer use the typewriter as a postmodernist reference to thriller classics such as The Shining as I stated in my postmodernism post, however because I am no longer using any police extras there seemed no need for it anymore even if there was somewhere to place the proposition. I also had to find a way of masking the room's posters to make the room strike one as a hotel room, luckily the majority of this room's posters were not stapled on therefore they were simply taken down and those which did require disguising, I covered with a black cloth to resemble a dark wall. The room also featured two extra chairs, one of which held a red jacket which closely resembles Michael Jackson's jacket in the Thriller video, referencing more iconic 1980's popular culture, as well as the other chair using leopard print cloth resembling 1980's fashion.The Days Shot List
Shot List for Scene One
- Two split shot: mid shot from behind the killer following him through the two corridors and a close up of the killer's feet to the first door.
- Close up of the woman looking frightened.
- Mid shot of the killer reaching for the knife.
- Close up of the killer stroking the knife.
- Over shoulder shot from the killer of the woman getting up.
- Mid shot of the killer pulling back the knife, camera panning into killer's back during throw, panning back to show woman stabbed, falling.
- Extreme close up of the woman screaming.
- High angle close up of the woman falling.
- Close up of the killer's feet by body, then wipes the knife clean with red rug.
- Extreme close up of the woman's last breath as she is stabbed again.
Shot List for Scene Two
- Close up of the woman, tracking up her body as Hudson leans down, tracks up to Hudson's face looking at the corpse.
- Over shoulder of Detective 1 walking into the scene as Hudson rises from the body.
- Low angle, from the body, of the two detectives dialogue, dialogue ends with Hudson pushing past the other detective.
- Tracking shot across the coffee table showing dead body with mugs and pots obscuring the audience's vision - to create ellipses.
- Mid - close up shot of Hudson leaving the crime scene until doorway where he meets members of the press.
- Over shoulder shot from Hudson of the dialogue between him and the press.
- Close up shot of Hudson of the dialogue between him and the press.
- Close up shot of Press Member 1 of the dialogue between him and Hudson.
- Close up shot of Press Member 2 of the dialogue between him and Hudson as well as Hudson's attack of Press Member 2.
Overall I am very pleased with shots I have gathered from today's filming which will be the last day in the production stage as I feel I am now ready to focus all of my attention on the editing stage of the process which will be continued from what I already have of scene three in the next few days.
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